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tfov  <£!)(Itor*n 

EDITED  BY  JANE  BYRD  RADCLIFFE-WHITEHEAD 


THE  most  remarkably  complete,  comprehensive  and  interesting  collection  of  English,  Scottish, 
Irish,  German,  French,  Scandinavian,  Polish  and  Russian,  Italian,  Spanish  and  American 
songs  ever  gotten  together.  In  addition  to  the  folk  songs  are  : 

Songs  of  Patriotism  of  Various  Nations, 

Carols,  Rounds,  Catches, 

Nursery  Songs,  Lullabies,  etc., 

showing  the  most  thorough  knowledge,  intense  enthusiasm,  and  excellent  musical  training,  and 
judgment  in  gathering,  selecting  and  compiling,  on  the  part  of  the  author.  A treasury  of  melody 
and  of  musical  expression  found  only  in  songs  of  this  class,  delightful  to  the  adult  lover  of  music 
and  especially  adapted  for  the  young. 

PRICE  — 226  pages,  folio  size,  bound  in  board  cover  with  cloth  back,  $2.00 

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MASTERS  IN  ART 


*1 Exercise  Your  Skin 

Keep  up  its  activity,  and  aid  its  natural  changes, 
not  by  expensive  Turkish  baths,  but  by  Hand 
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of  H and  Sapolio  makes  it  a very  desirable  toilet 
article;  it  contains  no  animal  fats,  but  is  made 
from  the  most  healthful  of  the  vegetable  oils.  It 
is  truly  the  “Dainty  Woman’s  Friend.”  Its  use 
is  a fine  habit. 


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ff  O 

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SPANIELS  OF  KINO  CHARLES’  BREED 


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SOUTH  KENSINGTON  MUSEUM,  LONDON 


M A STEPS  IN  ART 

AN  ENGRAVING  8Y  J 

[177] 


FROW 


PLATE  IV 


LAX  DSEEJR 
THE  SICK  MONKEY 

LORD  N O RTHJJ  HOOK'S  COLLECTION,  LONDON 


THE  MONARCH 


SOUTH  KEKSI.YOTOS  MUSEUM,  LOUDON 


SUSPENSE 

SOUTH  KENSrNGTOxV  MUSEUM,  LONDON 


m 


A JACK  IK  OFFICE 

SOUTH  KENSINGTON  MUSEUM,  LONDON 


o 


THE  HUiVTED  STAG 

NATIONAL  GALLERY  OF  BRITISH  ART,  LONDON 


PORTRAIT  OF  LANDSEER  BY  HIMSELF 
OWNED  BY  THE  KING  OF  ENGLAND 
Landseer  painted  this  picture  in  1865,  when  he  was  sixty-three  years  old.  It  was 
exhibited  at  the  Royal  Academy  in  that  year  and  presented  by  the  painter  to  the 
Prince  of  Wales,  now  King  Edward  vn.  Not  only  does  it  offer  one  of  the  best 
examples  of  Landseer’s  work  in  portraiture,  but  it  is  the  most  characteristic  existing 
likeness  of  the  artist.  The  two  dogs  looking  critically  over  his  shoulders  at  the  draw- 
ing which  he  is  making  give  the  picture  its  name — ‘The  Connoisseurs.’  Land- 
seer’s appearance  is  described  in  the  biographical  sketch  which  follows. 

[ 190  ] 


MASTERS  IN  ART 


£rir  fUntafrer 

BORN  1 802  : DIED  1873 
ENGLISH  SCHOOL 


EDWIN  LANDSEER  was  born  on  March  7,  1802,  at  what  was  then 
7 1 Queen  Anne  Street  East,  later  known  as  33  Foley  Street,  London. 
His  father,  John  Landseer,  was  an  engraver  of  note  as  well  as  an  able  writer 
on  art,  and  took  the  keenest  interest  in  the  artistic  education  of  his  three  sons, 
Thomas,  Charles,  and  Edwin,  all  of  whom  attained  to  more  or  less  distinc- 
tion, the  first  as  an  engraver,  the  two  last  as  painters,  but  of  whom,  Edwin,, 
the  youngest,  became  by  far  the  most  famous. 

John  Landseer  believed  that  an  ordinary  education  was  of  no  advantage 
to  an  artist,  but  rather  a hindrance  to  his  career,  and  as  Edwin  showed  no- 
fondness  for  books,  “always  running  away  from  his  teachers,  and  always 
drawing,”  his  father  encouraged  his  natural  tastes  by  taking  him  at  an  early 
age — as  soon,  indeed,  as  he  could  hold  a pencil  with  steadiness — into  the 
open  fields  which  in  that  day  were  in  the  near  neighborhood  of  his  home, 
and  there,  having  lifted  the  little  fellow  over  the  stile  which  formed  the  en- 
trance to  what  his  father  in  after  years  would  point  to  as  “Edwin’s  first  stu- 
dio,” would  bid  him  sketch  the  cows  and  sheep  grazing  there.  Sometimes 
Edwin  was  accompanied  on  such  expeditions  by  his  brothers,  but  as  he  grew 
older  he  would  often  start  off  alone  to  spend  hours  in  the  fields  drawing  the 
animals  about  him,  more  than  content  to  stay  until  his  father  went  in  search 
of  him  later  in  the  day,  when  his  drawings  would  be  criticized  and  their  faults 
corrected  on  the  spot. 

Some  of  these  youthful  studies  by  Landseer  are  preserved  in  the  South 
Kensington  Museum,  London,  and  from  the  notes  they  bear,  made  by  his 
father,  we  see  that  many  of  them,  surprisingly  clever  for  so  young  a child, 
were  made  by  the  artist  when  only  five  or  six  years  old.  At  the  age  of  seven 
Landseer  had  learned  to  etch,  and  before  he  was  twelve  he  had  begun  to 
paint  in  oils.  In  1813,  when  eleven  years  old,  he  won  the  prize  of  the  sil- 
ver palette  of  the  Society  of  Arts  for  drawings  of  animals,  and  in  the  three 
following  years  the  Isis  silver  medal  of  the  same  society  was  awarded  him. 

Wherever  animals  might  be  seen  and  studied  there  Edwin  Landseer  was 
to  be  found,  sketch-book  in  hand.  Sometimes  he  visited  Exeter  ’Change,  a 

[19.1] 


24 


MASTERS  IN  ART 


building  near  his  father’s  house  in  which  a show  of  wild  animals  was  held; 
sometimes  he  found  his  subjects  in  the  Tower  of  London,  where  until  1834 
it  was  the  custom  to  keep  lions,  leopards,  tigers,  and  bears;  and  in  both  places 
he  made  excellent  studies  of  wild  beasts  to  add  to  his  earlier  sketches  of  do- 
mestic animals. 

In  the  year  1815  Landseer  received  some  valuable  suggestions  from  the 
painter  Benjamin  R.  Haydon,  who  lent  him  his  dissections  of  a lion  to  copy, 
urged  him  to  study  anatomy,  as  well  as  the  cartoons  of  Raphael,  now  in  the 
South  Kensington  Museum,  and  the  great  Parthenon  sculptures,  then  recently 
brought  to  England  by  Lord  Elgin  and  known  as  the  Elgin  marbles;  and  in 
short,  did  much  to  encourage  the  boy  whose  talent  was  so  manifest.  In  this 
same  year,  Landseer,  then  thirteen  years  old,  made  his  first  appearance  in 
public  as  an  exhibitor  at  the  Royal  Academy,  London.  In  the  catalogue  of 
the  exhibition  he  is  recorded  as  “Master  E.  Landseer,  H.,  33  Foley  St.,” 
the  letter  “H”  signifying  an  honorary  exhibitor,  in  which  capacity  alone 
he  was  accepted,  as  his  youth  precluded  him  from  being  regarded  as  an  art- 
ist in  full.  The  subjects  of  the  pictures  exhibited  — both  drawings  — were 
‘A  Mule,’ and  ‘Pointer  Bitch  and  Puppy;’  this  last  was  especially  notewor- 
thy as  the  first  work  of  an  English  artist  since  Hogarth’s  day  who  had  por- 
trayed a dog  “with  due  regard  to  individuality  and  character.” 

T he  following  year  Landseer  entered  the  schools  of  the  Royal  Academy, 
where  he  was  a diligent  student  and  where  he  won  all  hearts  by  his  genial 
disposition,  his  gentle  manners,  and  his  distinct  personal  charm.  It  is  related 
that  Henry  Fuseli,  then  at  the  head  of  the  Academy,  if  he  failed  to  find  Land- 
seer in  the  room  with  the  other  students,  would  at  once  ask,  “Where  is  my 
little  dog-boy?”  By  the  painter  C.  R.  Leslie,  Landseer  is  described  at  this 
period  as  “a  curly-headed  youngster  dividing  his  time  between  Polito’s  wild 
beasts  at  Exeter  ’Change  and  the  Royal  Academy  Schools.” 

In  the  year  1818  Landseer  exhibited  at  the  Society  of  Painters  in  Oil  and 
Water-colors  a picture  entitled  ‘Fighting  Dogs  Getting  Wind,’  which  at- 
tracted general  attention  and  called  forth  enthusiastic  praise.  It  was  purchased 
by  Sir  George  Beaumont,  a fashionable  amateur  of  the  day  whose  patronage 
of  the  youthful  artist  of  sixteen  helped  to  increase  his  popularity  and  estab- 
lish his  fame.  A succession  of  pictures  followed,  appearing  in  exhibitions 
at  the  Royal  Academy,  the  British  Institution,  the  Society  of  Painters  in  Oil 
and  Water-colors,  and  at  the  Society  of  British  Artists.  Each  work  added  to 
the  painter’s  rapidly  won  reputation — a reputation  that  was  by  no  means 
confined  to  the  world  of  artists  and  people  of  his  own  social  standing,  but 
extended  to  the  most  fashionable  circles  of  London  society,  where  he  was 
welcomed,  courted,  admired,  and  made  much  of.  His  eminently  social  nature, 
his  wit,  gaiety,  and  charm  of  manner,  all  combined  to  render  him  a general 
favorite.  His  pictures  met  with  ready  sales  and  his  course  now  became  lit- 
tle short  of  a triumphal  progress. 

In  I 824  he  went  with  C.  R.  Leslie  to  Scotland,  and  there  visited  Sir  Wal- 
ter Scott  at  Abbotsford,  where  he  made  numerous  drawings  of  the  poet  sur- 
rounded by  his  dogs.  These  drawings  were  used  later  as  studies  for  finished 

[ 1*9  2 ] 


LANDSEER 


25 


pictures.  In  company  with  Leslie  Landseer  traveled  through  the  lake  district 
and  the  Highlands  of  Scotland,  and  was  everywhere  so  impressed  by  the 
scenery  that  he  rarely  failed  after  this  to  visit  Scotland  each  year.  “That 
country,  with  its  deer  and  its  mountains,”  writes  Mr.  Cosmo  Monkhouse, 
“was  thenceforth  the  land  of  his  imagination.  He  began  to  study  and  paint 
animals  more  in  their  relation  to  man.  Lions,  bulls,  and  pigs  gave  wav  before 
the  red  deer;  and  even  dogs,  though  they  retained  their  strong  hold  upon  his 
art,  were  hereafter  treated  rather  as  the  companions  of  man  than  in  their  nat- 
ural character  of  rat-catchers  and  fighters.” 

In  1826  Landseer,  then  twenty-four,  was  elected  an  Associate  of  the  Royal 
Academy  at  the  earliest  age  that  was  in  conformity  with  the  laws  of  that 
body.  Shortly  before  this  time  he  had  moved  from  his  father’s  house  in  Fo- 
ley Street,  and  from  the  comfortless  and  inconvenient  studio  which  he  occu- 
pied in  Upper  Conway  Street,  to  a house  in  St.  John’s  Wood,  near  Regent’s 
Park,  where  he  was  in  possession  of  a garden,  and  a barn  which  was  soon 
converted  into  a studio.  The  house,  No.  1 St.  John’s  Wood  Road,  was  added 
to  and  improved  from  time  to  time,  as  the  painter’s  needs  required  and  his 
increasing  wealth  allowed.  Here  the  remainder  of  his  life — a period  of  nearly 
fifty  years  — was  spent,  and  here  the  greater  part  of  his  life’s  work  accom- 
plished. Landseer  never  married.  His  sister,  Mrs.  Mackenzie,  or  an  un- 
married sister,  Jessie,  kept  house  for  him,  and  his  home  was  always  a favorite 
meeting-place  for  his  large  circle  of  friends,  and  the  scene  of  many  social 
gatherings  of  noted  people. 

“There  were  few  studios  more  charming  to  visit  than  Landseer’s,”  writes 
a correspondent  of  Mrs.  Ritchie’s  (then  Miss  Thackeray).  “ Besides  the  genial 
artist  and  his  beautiful  pictures,  the  habitues  of  his  ‘workshop,’  as  he  called  it, 
belonged  to  the  elite  of  London  society,  especially  the  men  of  wit  and  distin- 
guished talent — none  more  often  there  than  Count  D’Orsay  with  his  good- 
humored  face,  his  ready  wit,  and  delicate  flattery.  ‘Landseer,’  he  would  call 
out  at  his  entrance,  ‘keep  the  dogs  off  me’  — referring  to  the  pictures — ‘I 
want  to  come  in  and  some  of  them  will  bite  me;  that  fellow  in  the  corner  is 
growling  furiously!’  Then  there  was  Mulready,  still  looking  upon  Landseer 
as  the  young  student,  and  fearing  that  all  this  incense  would  spoil  him  for 
future  work;  and  Fonblanque,  who  maintained  from  first  to  last  that  Land- 
seer was  on  the  top  rung  of  the  ladder,  and  when  at  the  exhibition  of  some 
of  the  artist’s  later  works  he  heard  it  said,  ‘They  are  not  equal  to  his  former 
ones,’  exclaimed,  ‘It  is  hard  upon  Landseer  to  flog  him  with  his  own  laurels.”’ 

In  1831  Landseer  was  elected  to  the  full  membership  of  the  Royal  Acad- 
emy. His  pictures  had  now  become  well-known  works,  the  popularity  of 
which  was  vastly  increased  by  the  engravings  made  from  them  by  his  brother 
Thomas  and  many  other  engravers  of  more  or  less  note.  Landseer  was  a 
child  in  business  matters,  and  his  affairs  were  managed  first  by  his  father  and 
later  by  his  friend  Mr.  Jacob  Bell,  who  secured  for  him  the  engraving  rights 
of  his  works.  These  formed  the  chief  source  of  the  artist’s  income,  and  con- 
tributed far  more  than  did  the  moderate  sums  that  he  obtained  for  his  paint- 
ings towards  the  large  fortune  that  he  amassed. 

[193] 


26 


MASTERS  IN  ART 


It  was  Landseer’s  custom  to  place  a clean  canvas,  or  panel,  upon  his  easel 
and  leave  it  there  untouched  for  several  days,  or  until  he  had  completely 
thought  out  the  subject  that  he  was  to  paint.  This  done,  he  would  take  up 
his  palette  and  brushes  and  set  to  work,  and  in  an  astonishingly  short  space 
of  time  the  picture  would  be  finished.  There  are  countless  stories  told  of  his 
rapidity  in  working — of  how  he  completed  a large  picture  of ‘A  Sleeping 
Bloodhound’  in  three  days;  finished  another  of ‘Rabbits’  in  three-quarters 
of  an  hour;  painted  a portrait  of  Lord  Ashburton  in  a single  s’tting;  and  for 
his  friend  Mr.  Wells,  completed  a picture  of  a spaniel  and  a wounded  rab- 
bit— both  animals  the  size  of  life — in  two  hours  and  a half,  and  one  of  a 
fallow-deer  for  the  same  friend,  who  used  to  relate  that  one  Sunday  morn- 
ing as  he  was  about  to  go  to  church  the  panel  for  this  picture  was  placed  on 
the  easel  of  the  painter,  who  was  his  guest  at  the  time,  and  that  when  he  re- 
turned from  morning  service  the  picture  was  finished. 

Landseer’s  technical  powers  were  no  less  amazing.  “Under  his  hand,” 
writes  Mr.  Redgrave,  “a  single  drag  of  the  brush  gave  a more  effectual  ren- 
dering of  the  coat  of  an  animal  than  could  be  achieved  by  a painstaking  imi- 
tation of  each  single  hair.”  As  an  instance  of  his  dexterity  a story  is  told 
that  upon  the  occasion  of  a large  party  assembled  one  evening  at  the  house 
of  a gentleman  in  London,  the  conversation  having  turned  upon  the  subject 
of  feats  of  skill  with  the  hand,  one  of  the  ladies  present  remarked  that  it 
would  be  impossible  for  any  one,  however  skilful,  to  draw  two  things  at  once. 
“Oh,  I can  do  that,”  said  Landseer  quietly;  “give  me  two  pencils  and  I will 
show  you.”  The  pencils  were  brought,  and  Landseer,  taking  one  in  each 
hand,  drew  simultaneously  and  unhesitatingly  the  profile  of  a stag’s  antlered 
head  with  one  hand,  and  with  the  other  the  perfect  outline  of  the  head  of  a 
horse.  Both  drawings  were  strong  and  vigorous;  that  drawn  with  the  left 
hand  in  no  way  inferior  to  its  companion  sketch. 

In  person  Landseer  was  somewhat  below  middle  height.  His  face  was 
broad  and  his  forehead  well  formed.  His  complexion  was  fresh,  his  eyes  fine, 
and  his  hair,  light  brown  in  youth  and  white  in  later  life,  was  curly.  Perhaps 
on  the  whole  his  face  was  not  marked  by  force  of  character,  but  for  all  that 
his  appearance  was  thoroughly  manly  and  his  expression  frank  and  open. 
It  has  been  said  that  he  was  wholly  without  envy  or  jealousy  of  others,  and 
that  his  estimation  of  his  own  powers  was  absurdly  low.  “If  people  only 
knew  as  much  about  painting  as  I do,”  he  said  on  one  occasion,  “they  would 
never  buy  my  pictures.”  His  keen  insight  into  the  characters  of  animals, 
especially  of  dogs,  was  well  known,  and  with  the  infallible  instinct  of  those 
creatures  they  invariably  recognized  in  Landseer  a friend  and  master.  His 
power  over  them  and  his  marvelous  way  of  winning  their  affection  was  unfail- 
ing. After  the  loss  of  a favorite  terrier,  Brutus — a loss  from  which  he  never 
entirely  recovered  — he  did  not  confine  his  affections  to  any  one  dog,  but  was 
usually  to  be  seen  surrounded  by  half  a dozen,  who  accompanied  him  in  his 
walks  and  were  his  constant  companions  at  home. 

After  1839  Landseer  painted  several  portraits  of  the  English  nobility, 
sometimes  introducing  likenesses  of  his  sitters  into  his  large  figure  groups, 

[194] 


LANDSEER 


27 


sometimes,  and  especially  was  this  the  case  with  children,  giving  accessories  to 
his  portraits  that  converted  them  into  subject  pictures  to  which  such  titles  as 
‘Little  Red  Ridinghood,’  ‘The  Naughty  Child,’  ‘Beauty’s  Bath,’  etc.,  were 
appended.  None  of  these  pictures,  however,  equaled  the  painter’s  portrayals 
of  animal  life,  nor  did  they  add  materially  to  his  reputation.  From  the  be- 
ginning to  the  end  of  his  career  his  forte  lay  distinctly  in  his  interpretation 
of  the  natures  of  dumb  beasts,  notably  the  dog. 

Landseer  was  a brilliant  conversationalist,  full  of  humor  and  anecdote. 
His  manner  of  telling  a story  was  graphic,  and  marked  with  a certain  dra- 
matic power.  An  enthusiastic  sportsman,  he  was  nevertheless  somewhat  of 
a trial  to  the  Scotch  “gillies,”  or  attendants,  who  accompanied  him  upon 
his  shooting  expeditions  during  his  yearly  visits  to  the  Highlands  of  Scotland, 
for  it  sometimes  happened  that  just  as  a magnificent  shot  came  in  the  way 
Landseer  would  thrust  his  gun  into  their  hands  with  a hurried,  “Here,  take 
this,”  and  quickly  pulling  his  sketch-book  and  pencil  from  his  pocket  would 
proceed  to  make  a study  of  the  deer  with  never  a thought  of  taking  its 
life. 

In  1840  Landseer’s  health  broke  down  from  overwork,  and  from  the  de- 
mands of  a social  life  that  held  only  too  great  a fascination  for  him  and  pro- 
duced a somewhat  detrimental  effect  upon  his  character.  In  short,  the  def- 
erence shown  him,  and  the  flattery,  amounting  to  adulation,  accorded  him  by 
his  fashionable  friends,  spoiled  him  to  a certain  extent;  he  became  affected  in 
his  manner,  and  his  old  friends  deplored  the  partial  eclipse  of  the  finer  and 
more  genuine  qualities  in  the  man  they  loved.  In  company  with  one  of  these 
old  friends,  Mr.  Jacob  Bell,  Landseer  now  made  a tour  through  Belgium  and 
Switzerland,  returning  home  by  way  of  Paris.  This  trip,  during  which  he 
did  nothing  in  the  way  of  his  work,  proved  the  refreshment  that  his  over- 
taxed nerves  needed,  and  he  went  back  to  London  benefited  by  the  rest. 

From  the  time  of  her  accession  to  the  throne  of  England  in  1837  Oueen 
Victoria  was  one  of  Landseer’s  most  enthusiastic  admirers  and  one  of  his 
chief  patrons.  Her  regard  and  friendship  for  the  painter  were  shared  by  the 
prince  consort,  and  many  were  the  visits  that  Landseer  paid  the  royal  pair 
at  Balmoral  Castle  in  Scotland  and  at  Osborne  House  on  the  Isle  of  Wight, 
where  he  was  kept  busily  employed  in  painting  pictures  of  the  pet  animals 
belonging  to  the  queen  and  to  Prince  Albert,  portraits  of  old  and  faithful 
servants,  and  even  portraits  of  the  queen  herself  and  of  her  consort,  which 
were  followed  by  those  of  the  young  princes  and  princesses  from  their  earli- 
est childhood.  We  hear,  too,  of  pictures  painted  by  their  favorite  artist  for 
the  royal  couple  to  be  given  as  birthday  presents  to  each  other,  such  com- 
missions being  always  executed  in  secrecy.  On  one  occasion,  for  instance, 
when  Landseer  was  engaged  in  painting,  at  the  request  of  the  queen,  a 
picture  of  Prince  Albert’s  favorite  greyhound,  Eos,  in  which  the  prince’s 
hat  and  gloves  were  to  be  used  as  accessories,  a messenger  arrived  in  hot 
haste  at  the  artist’s  studio  with  an  order  from  the  queen  to  send  back  those 
articles  immediately,  as  the  prince  had  asked  for  them  and  on  no  account  must 
he  suspect  what  was  on  foot. 


[195] 


28 


MASTERS  I N ART 


Once  the  young  queen  herself  rode  on  horseback  unannounced  to  the  door 
of  the  artist’s  studio  in  St.  John’s  Wood  Road,  and  waited  while  in  obedi- 
ence to  her  summons  he  hurriedly  changed  his  coat,  and  mounted  a groom’s 
horse  to  accompany  her  on  her  ride  in  order  that  he  might  make  a study  for 
an  equestrian  portrait  of  her  Majesty. 

In  addition  to  his  unofficial  position  as  court  painter  Landseer  gave  les- 
sons to  the  queen  and  to  Prince  Albert  in  the  art  of  etching,  in  which  both 
proved  apt  pupils.  There  was  little  or  no  formality  in  his  intercourse  with 
the  royal  couple,  with  whom,  indeed,  he  was  on  terms  of  such  intimate 
friendship  that  when  visiting  them  in  Scotland  or  on  the  Isle  of  Wight  he 
would  spend  hours  in  hunting  or  in  playing  billiards  with  Prince  Albert,  or 
would  take  long  walks  with  the  queen,  and  help  her  in  her  sketching  with 
his  criticisms. 

After  the  death  of  the  prince  consort  this  personal  intercourse  with  the 
queen  ceased,  and  Landseer,  whose  sensitive  nature  was  given  to  fancying 
slights  where  none  were  intended,  was  deeply  hurt,  and  never  understood 
that  even  if  invitations  to  the  royal  palaces  had  ceased,  the  queen’s  regard 
for  him  might  still  remain  unchanged,  as  was  proved  to  be  the  case  when  in 
1850  she  conferred  upon  him  the  honor  of  knighthood. 

During  the  next  ten  years  Sir  Edwin  Landseer,  as  he  was  now  known, 
produced  many  of  his  finest  works.  In  1855  his  picture  ‘The  Sanctuary’ 
won  for  him  the  great  gold  medal  of  the  Universal  Exposition  held  in  Paris 
in  that  year.  Four  years  later  he  was  commissioned  by  Lord  Derby,  on  be- 
half of  the  English  nation,  to  model  four  lions  for  the  base  of  the  monument 
erected  in  Trafalgar  Square,  London,  in  commemoration  of  the  victory  won 
off  Cape  Trafalgar  by  Lord  Nelson.  This  work  occupied  much  of  Land- 
seer’s time  during  the  next  eight  years.  On  January  31,  1867,  the  colossal 
lions  cast  in  bronze  were  unveiled  in  their  places. 

In  1865  the  presidency  of  the  Royal  Academy,  made  vacant  by  the  death 
of  Sir  Charles  Eastlake,  was  offered  to  Landseer  by  the  unanimous  vote  of 
his  fellow  members.  This  honor,  however,  was  declined  by  the  painter,  who 
felt  that  his  health  was  not  equal  to  the  responsibilities  which  such  a position 
entailed.  Landseer’s  health  had,  indeed,  shown  signs  of  seriously  breaking 
down.  Extreme  nervous  excitability  manifested  itself  in  various  ways,  and 
attacks  of  mental  distress  undermined  his  constitution.  His  eyesight,  too, 
began  to  fail ; he  became  conscious  of  technical  errors  in  his  work  which  critics 
readily  attributed  to  weakening  powers.  T his  was  especially  painful  to  a 
man  whose  delight  it  had  formerly  been,  as  a sympathetic  critic  has  said,  “to 
put  a magnifying-glass  into  the  hand  of  an  artist  friend  and  bid  him  examine 
the  painting  of  the  eye  of  a bird.  He  had  the  same  desire  for  minute  finish 
at  the  last  as  in  his  youthful  days,  and  it  was  one  of  his  sorest  trials  that  he 
had  to  paint  in  glasses  just  when  the  rage  for  Preraphaelite  finish  was  rising.’’ 
A morbid  sensitiveness,  to  which  he  had  long  been  a prey,  caused  Landseer  to 
suffer  unduly  from  censure  and  from  imagined  slights  from  his  friends.  It 
has  been  said  that  if  he  had  been  willing  at  this  time  to  forego  the  pleasures 
of  society  and  lead  a quieter  life  all  might  have  gone  well,  but  he  was  unable 

[196] 


LANDSEER 


29 


to  resist  the  gaiety  and  excitement  that  he  had  grown  to  depend  upon.  At- 
tacks of  depression,  amounting  at  times  to  mental  anguish,  became  more  fre- 
quent, and  these,  combined  with  increasing  physical  feebleness  and  pain,  sad- 
dened his  last  years.  There  were,  it  is  true,  bright  moments  when  his  powers 
reasserted  themselves.  Among  his  last  works,  ‘The  Swannery  Invaded  by 
Eagles,’  exhibited  in  1869,  and  ‘ The  Sick  Monkey’  in  the  following  year, 
give  ample  evidence  that  his  hand  had  not  forever  lost  its  cunning. 

It  was  hoped  that  the  more  bracing  air  of  Scotland  or  the  north  of  Eng- 
land might  benefit  the  painter’s  health;  but  such  did  not  prove  to  be  the 
case,  and  finally,  after  repeated  visits  to  the  north,  he  returned  to  London,  and 
to  his  house  in  St.  John’s  Wood  Road,  never  to  leave  home  again.  During 
the  last  months  of  his  life  he  would  sometimes  walk  around  the  paths  of  his 
garden  leaning  on  his  sister’s  arm,  but  most  of  his  time  was  passed  in  his 
studio,  where  he  painted  almost  to  the  last  and  where  it  was  his  wish  that 
he  might  die. 

On  October  1,  187  3,  the  end  came.  On  the  eleventh  of  that  month  Sir 
Edwin  Landseer  was  buried  with  full  honors  in  St.  Paul’s  Cathedral,  Lon- 
don, where  his  grave  has  since  been  marked  by  a sculptured  slab  above  it 
bearing  a medallion  portrait  of  the  painter,  beneath  which  is  modeled  in  high 
relief  a copy  of  his  most  pathetic  and  one  of  his  greatest  works,  ‘1  he  Old 
Shepherd’s  Chief  Mourner.’ 


Cljc  9rt  of  flantistcv 

RICHARD  MUTHER  ‘THE  HISTORY  OF  MODERN  PAINTING’ 

LANDSEER  was  the  spoiled  child  of  fortune.  In  high  favor  at  court,  hon- 
-/  ored  by  the  fashionable  world,  and  tenderly  treated  by  criticism,  he  went 
on  his  way  triumphant.  The  region  over  which  he  held  sway  was  narrow, 
but  he  stood  out  in  it  as  in  life,  powerful  and  commanding.  . . . 

One  reason  of  his  artistic  success  is  perhaps  due  to  that  in  him  which  was 
inartistic — to  his  effort  to  make  animals  more  beautiful  than  they  really  are, 
and  to  make  them  the  medium  for  expressing  human  sentiment.  It  is  this 
that  distinguishes  Landseer  to  his  disadvantage  from  really  great  animal- 
painters  like  Potter,  Snyders,  Troyon,  and  Rosa  Bonheur.  He  paints  the 
human  temperament  beneath  the  animal  mask.  His  stags  have  expressive 
countenances,  and  his  dogs  appear  to  be  gifted  with  reason  and  even  speech. 
His  disposition  to  bring  animals  on  the  stage,  as  if  they  were  the  actors  of 
tragic,  melodramatic,  or  farcical  scenes,  made  him  a peculiar  favorite  with  the 
great  mass  of  people.  Nor  were  his  picture-stories  merely  easy  to  read  and 
understand,  for  the  characteristic  titles  he  invented  for  them  excited  curiosity 
as  much  as  the  most  carefully  selected  name  of  a novel.  But  this  search  after 
points  and  sentimental  anecdotes  only  came  into  prominence  in  his  last  period, 
when  his  technique  had  degenerated  and  he  gave  way  to  a shiny  polish  and 

[197] 


30 


MASTERS  IN  ART 


a forced  elegance.  In  his  middle  period  Landseer  painted  masterpieces  which 
set  him  by  the  side  of  the  best  animal-painters  of  all  times  and  nations. 
These  pictures,  in  their  animation  and  simple  naturalness,  are  indeed  precious 
examples  of  the  fresh  and  delicate  observation  peculiar  to  him  at  that  time. 
They  are  painted  with  all  the  love  and  joy  of  a child  of  nature,  and  that 
accounts  for  their  strength,  their  convincing  power,  and  their  vivid  force.  It 
is  as  if  he  had  become  possessed  of  a magic  cap,  with  which  he  could  draw 
close  to  animals  without  being  observed,  and  surprise  their  nature  and  their 
inmost  life.  . . . 

Horses,  which  Leonardo  da  Vinci,  Rubens,  Velasquez,  Wouverman,  and 
the  earlier  English  artists  delighted  to  render,  Landseer  painted  but  seldom, 
and  when  he  painted  them  it  was  with  a less  penetrating  comprehension. 
Lions,  which  had  been  represented  in  savage  passion  or  in  quiet  dignity  by 
artists  from  Rubens  to  Decamps,  were  for  him  also  a subject  of  long  and 
exhaustive  studies,  which  had  their  result  in  the  four  colossal  lions  round 
the  base  of  Nelson’s  monument  in  Trafalgar  Square,  London.  Stags  and  roes 
were  really  first  introduced  imo  painting  by  Landseer.  His  principal  field 
of  study  for  these  animals  was  the  Highlands  of  Scotland,  where  he  painted 
them  fighting  on  the  mountain  slope,  swimming  the  lake,  or  as  they  stand 
gazing  in  their  quiet  beauty.  But  of  all  animals  dogs  were  Landseer’s  peculiar 
specialty.  He  may  be  said  to  have  discovered  the  dog.  That  of  Snyders  was  a 
treacherous,  snarling  cur;  that  of  Bewick  a robber  and  a thief.  Landseer  has 
made  him  the  companion  of  man,  an  adjunct  of  human  society,  the  generous 
friend  and  true  comrade  who  is  the  last  mourner  at  the  shepherd’s  grave. 
Landseer  first  studied  his  noble  countenance  and  his  thoughtful  eyes,  and  in 
so  doing  opened  a new  province  to  art. 

Me  DOUGALL  SCOTT  ‘SIR  EDWIN  LANDSEER’ 

LANDSEER’S  work  divides  itself  into  two  classes:  the  painting  of  animals 
j as  animals,  and  the  painting  of  animals  as  creatures  possessed  of  all  or 
some  of  the  human  attributes.  In  the  latter  style  only  does  the  artist  lay 
claim  to  any  distinct  originality  or  to  the  founding  of  a school.  But  here  he 
can  make  good  his  claim.  P'or  judging  by  those  painters  of  animals  who  were 
his  predecessors  or  contemporaries,  none  had  ever  attacked  their  subject  from 
Landseer’s  standpoint;  none  had  treated  them  so  obviously  as  intellectually 
sentient  human  beings,  only  removed  from  man  by  their  lack  of  the  medium 
of  human  speech.  It  is  at  the  point  where  he  departs  from  the  accepted  can- 
ons of  animal-painting  that  adverse  criticisms  ot  him  arise,  for  no  critic  has 
ever  suggested  a word  against  his  purely  technical  treatment  of  animals. 
Studying  his  method,  as  typified  in  what  have  been  called  his  “anecdotal” 
pictures,  in  the  spirit  in  which  they  were  painted,  we  can,  however,  con- 
struct an  apology  for  much  that  would  otherwise  be  unconvincing  and  false. 

Landseer  had  a very  real  message  to  give  to  the  world,  a message  of  kind- 
liness and  compassion,  of  sympathy  and  trust;  and  he  felt  best  able  to  give 
this  message  through  the  medium  of  his  dumb  friends,  where  other  men  had 
chosen  religious  subjects  or  broad  poetic  schemes.  To  the  dog  in  particular 

[198] 


LANDSEER 


31 


he  went  for  help  in  his  task,  as  being  the  first  friend  of  man;  the  dog  he  in- 
vests with  the  greatest  meed  of  human  intelligence,  and  for  this  very  reason 
many  of  his  dog  pictures  are  narrower  in  their  conception,  more  constrained 
in  their  execution,  and  less  convincing  as  poetic  compositions  than  his  greater 
stag  or  lion  studies.  With  the  dog  he  often  strained  the  rational  limits  set 
about  him,  merging  the  semi-tragic  into  the  ridiculous.  Landseer  was,  how- 
ever, a poet  at  soul;  his  poetry  is  often  hidden  under  a mass  of  artifice,  his 
philosophy  tainted  with  a strain  of  the  absurd,  yet  we  may  not  deny  a deep 
meaning  to  the  spirit  of  his  work.  . . . 

It  is,  however,  necessary  to  recognize  the  fact  that  the  attribution  of 
human  instincts  to  animals  did  most  sadly  destroy  the  finer  and  innermost 
qualities  of  much  of  Landseer’s  work.  Undoubtedly,  as  has  been  said,  the 
artist  viewed  his  effort  as  a means  to  an  end,  as  a means  whereby  he  could 
give  his  message  more  vividly  to  the  world;  but  nevertheless  even  this  view 
does  not  materially  raise  the  art-level  of  some  of  his  “anecdotal”  pictures. 
We  cannot  get  away  from  the  fact  that  had  he  escaped  from  the  parodying 
of  humanity  in  the  brute  species  a greater  number  of  his  pictures  would  have 
attained  the  perfection  of  the  highest  standard  in  his  branch  of  art.  His  stag 
pictures  must,  for  instance,  always  be  admirable,  for  in  them  he  discovered  and 
interpreted  the  essence  of  splendid  animal  majesty;  the  noble  creatures  are 
imbued  wfith  something  very  far  above  mere  humanity,  they  are  the  king-like 
children  of  nature.  We  would  here  place  such  pictures  as  ‘The  Old  Shep- 
herd’s Chief  Mourner’  and  ‘Suspense’  outside  the  ordinary  class  of  the  “anec- 
dotal” works.  The  humanizing  effort  is  perhaps  in  them,  but  the  word  seems 
hardly  to  embrace  the  real  underlying  idea.  Let  us  turn  instead  to  that  larger 
class  of  works  of  which  ‘The  Cat’s-paw,’  ‘The  Larder  Invaded,’  ‘A  Jack  in 
Office,’  ‘The  Traveled  Monkey,’  and  ‘Alexander  and  Diogenes’  are  typical 
examples,  to  see  where  his  idea  went  essentially  wrong.  In  each  and  all  of 
the  pictures  cited,  the  petty  introduction  of  human  instincts  has  marred  and 
disturbed  the  broad  ideas  of  free  nature. 

That  Landseer,  with  his  acute  knowledge  of  the  animal  world,  should  ever 
have  attempted  to  mix  up  such  antithetically  opposed  qualities  as  the  artificial 
emotions  of  humanity  and  the  primitive  instincts  of  the  brute  world  must 
always  seem  a curious  error  of  judgment.  In  defence,  however,  of  the  false 
sentiment  that  marks  some  of  his  work,  we  would  point  out  the  fact  that  he 
lived  at  a most  unfortunate  time.  The  early  and  mid-Victorian  epoch  was 
impregnated  with  a false  and  mawkish  sentimentality.  Art  in  England  and 
on  the  Continent  was  at  a low  ebb,  and  it  is  scarcely  strange  that  the  spirit 
of  the  day  should  have  crept  into  painting  as  it  did  into  literature.  It  was  not 
so  much  that  Landseer  could  not  rise  to  heights  of  true  and  poetic  pathos, 
for  some  of  his  pictures  definitely  prove  that  he  could,  as  that  he  took  his 
color  from  his  surroundings,  and  acceded  to  the  demands  of  his  time.  . . . 

Up  to  the  year  1824  Landseer’s  pictures  lack  breadth  of  conception  and 
ease  of  execution,  but  in  that  year,  after  his  first  visit  to  Scotland,  a marked 
change  became  apparent  in  his  style.  We  note  an  increased  power,  a truer 
idea  of  the  harmonious  relationship  of  subject  with  subject,  broader  tones, 

[109] 


32 


MASTERS  IN  ART 


and,  if  possible,  a deeper  insight  into  animal  nature.  As  to  the  rapidity  of 
his  work,  so  far  from  detracting  from  its  excellence,  his  pictures  seem  often 
to  gain  in  strength  and  purpose  through  the  quickened  deftness  of  his  touch. 
Perhaps  he  threw  more  concentration  into  them,  or  perhaps  his  love  for  for- 
eign details  had  to  be  curbed  when  he  was  working  against  time;  at  any  rate 
with  increased  rapidity  came  a greater  unity  of  idea  and  harmony  of  execu- 
tion. . . . 

Landseer  was  a master  of  draftsmanship.  He  has  been  called  an  excellent 
designer  of  animals,  a statement  which  in  its  terseness  is  a little  unjust,  with  the 
inference  contained  in  it  that  he  was  so  much  and  no  more.  He  was  a great  deal 
more,  but  perhaps  his  power  as  a draftsman  is  one  of  the  most  salient  points 
about  his  work.  It  would  be  difficult  among  his  more  mature  works  to  find  an 
instance  of  really  false  animal  drawing,  though  sometimes  his  treatment  of  the 
dog  is  not  convincing  by  reasonof  a constraint  of  facial  expression.  For  this  his 
humanizing  method  is  to  be  blamed,  rather  than  the  technical  treatment  of  the 
drawing.  The  beauty  of  truth  has  in  these  cases  given  place  to  a far-fetched  ex- 
pression of  idea.  This  occasional  false  rendering  of  expressions  does  not,  how- 
ever, alter  the  fact  that  as  a draftsman  of  animals,  working  on  a thorough 
knowledge  of  his  subject,  Landseer  stands  without  a rival.  This  is  the  more 
vividly  apparent  when  he  is  dealing  with  the  more  noble  members  of  the 
animal  kingdom;  true  artist  that  he  was,  he  never  tried  to  infuse  into  the 
stag  or  the  lion  that  rather  strained  personality  of  his  domestic  animals. 

With  the  human  figure  Landseer  was  not  at  his  best;  the  subject  had  no 
real  attractions  for  him,  and  in  it  he  never  attained  any  high  standard.  As 
often  as  not  the  drawing  is  false,  the  anatomy  incorrect,  the  attitudes  full  of 
uneasy  constraint.  T he  same  may  be  said  of  his  portraits,  for  though  in  his 
own  day  he  had  a distinct  vogue  as  a portrait-painter,  he  does  not  stand  high 
to-day  in  the  public  esteem.  With  the  exception  of  the  posthumous  portrait 
of  Sir  Walter  Scott,  and  the  one  of  himself  in  ‘The  Connoisseurs,’  his  efforts 
in  this  line  were  wooden  and  weak. 

Landseer’s  pictures  do  not  possess  any  rich  glow  of  color,  which,  as  a rule, 
seems  to  emanate  from  the  surface  rather  than  from  the  depths  of  the  canvas. 
In  many  cases  his  subjects  demanded  a subdued  treatment  of  soft  grays  and 
browns,  with  no  vivid  contrasts.  His  manner  of  painting  the  coats  of  his  ani- 
mals is  wonderful;  there  is  a velvety  texture  about  them  which  is  quite  real- 
istic, and  one  can  almost  feel  the  thickness  and  soft  resistance  of  the  hair.  . . . 

In  composition  Landseer  was  successful  only  so  long  as  he  kept  his  pic- 
tures simple.  When  he  was  called  on  to  introduce  crowds,  more  especially 
crowds  of  men  and  women,  into  his  canvas,  he  failed  to  gain  anything  but 
a series  of  disjointed  groups.  In  this  respect  he  did  not  improve  as  time  went 
on.  He  was  too  fond,  moreover,  of  crowding  his  canvases  with  irritating 
adjuncts  and  details.  It  is  in  composition  in  “breadth”  and  “height”  that 
he  most  obviously  fails,  for  his  “depth”  is  good;  the  groupings  recede  well 
into  their  respective  planes.  Perhaps  his  distance  and  middle  distance  are  too 
intricately  detailed  and  brought  too  much  forward,  but  his  real  faults  lie  more 
in  the  grouping  of  each  respective  plane.  . . . 

[200] 


LANDSEER 


33 


Landseer  could  be  deeply  imaginative,  but,  to  use  an  expression  taken  from 
logic,  his  paintings  are  types  of  “intension”  rather  than  “extension.”  That 
is,  he  painted  the  attributes  of  his  animal  with  relation  to  the  animal  itself, 
and  not  the  relations  of  his  animal  to  the  world  of  his  picture.  With  a few 
exceptions,  he  painted  the  animal  for  its  own  merits  and  not  as  a factitive 
part  of  a whole  composition. 

Let  us,  however,  admire  Landseer’s  style  in  its  own  light — in  the  light  of 
the  genius  which  could  discover  and  interpret  the  instincts,  feelings,  and  sen- 
tient nature  of  the  animals,  portraying  this  inner  nature  with  a truthful  mas- 
tery of  his  art,  and  a thorough  knowledge  of  form  and  substance. 

JOHNC.  VANDYKE  ‘OLD  ENGLISH  MASTERS’ 

THE  most  precocious  and  perhaps  the  most  popular  of  all  English  paint- 
ers was  Sir  Edwin  Landseer.  He  was  acclaimed  a genius  before  he  had 
reached  man’s  estate,  and  during  the  seventy  years  of  his  life  he  painted  pic- 
tures that  were  circulated  through  engravings  in  all  the  countries  of  Chris- 
tendom. . . . 

It  is  not  often  that  an  artist  attains  such  wide-spread  popularity,  and  usually 
there  are  reasons  for  it  other  than  artistic.  It  was  so  in  Landseer’s  case.  He 
forced  the  note  of  animal  life  (especially  the  dog)  by  humanizing  it,  giving 
it  emotions  and  sentiments  pertinent  to  humanity,  making  it  tell  a sentimen- 
tal or  a funny  story.  And  he  forced  the  note  of  art  by  a “smart”  painting  of 
surfaces  and  textures  which  disguised  a want  of  depth  and  covered  up  a lack 
of  substance.  Not  that  Landseer  was  always  superficial,  but  that  his  pop- 
ularity was  gained  by  his  least  meritorious  performance.  It  is  an  old  story 
in  art.  Correggio  is  still  popularly  known  as  the  painter  of  that  sugary  lit- 
tle ‘Reading  Magdalene’  at  Dresden  — a picture  that  he  never  saw;  and 
Millet,  who  had  a command  of  line  worthy  of  Michelangelo,  lives  in  the  pop- 
ular mind  as  the  painter  of  the  ‘Angelus,’  an  exaggerated  story  in  paint  done 
in  the  artist’s  poorest  manner.  . . . 

After  Landseer’s  trip  to  Scotland  his  subject  changed  somewhat,  he  be- 
came fond  of  deer,  mountains,  and  Scotch  heather,  paying  less  attention  to 
lions  and  tigers,  but  always  clinging  to  the  dog.  He  now  began  painting  the 
dog  in  connection  with  his  master;  and  after  he  had  been  made  a Royal  Acad- 
emician, in  1831,  he  began  to  burlesque  his  subject  in  such  popular  successes 
as  ‘ Low  Life  — High  Life,’  ‘A  Jack  in  Office,’  and  ‘ Laying  Down  the  Law  ’ 
— all  of  them  pictures  of  dogs,  posed  in  imitation  of  humanity.  . . . 

At  his  best  Landseer  was  a good  draftsman  and  a very  facile  handler  of 
the  brush.  All  told,  his  career  was  remarkably  successful,  but  there  is  a sharp 
line  of  demarcation  tp  be  drawn  between  his  popular  success  and  his  artistic 
success.  The  latter  was  not  slight.  He  had  the  artistic  sense,  but  in  the  roar 
of  applause  that  wrent  up  over  the  caricatured  dog  it  was  lost  to  sight  and  for- 
gotten save  by  his  fellow-craftsmen. 


[201] 


34 


MASTERS  IN  ART 


COSMO  MONKHOUSE  ‘DICTIONARY  OF  NATIONAL  BIOGRAPHY’ 

AS  an  artist  Landseer  was  thoroughly  original,  striking  out  a new  path  for 
il  himself  by  treating  pictorially  the  analogy  between  the  character  of  ani- 
mals and  men.  His  principal  forerunner  in  this  was  Hogarth,  who  occasion- 
ally introduced  animals  in  his  pictures  from  the  same  motive.  But  Landseer 
was  more  playful  in  his  humor,  more  kind  in  his  satire,  trying  only  to  show 
what  was  human  in  the  brute;  whereas  Hogarth  only  displayed  what  was 
brutal  in  the  man.  But  Landseer  was  a poet  as  well  as  a humorist,  and  could 
strike  chords  of  human  feeling  almost  as  truly  and  strongly  as  if  his  subjects 
had  been  men  instead  of  dogs  and  deer. 

His  compositions  are  nearly  always  marked  by  a great  feeling  for  elegance 
of  line,  but  in  his  later  works  his  color,  despite  his  skill  in  imitation,  was  apt 
to  be  cold  and  crude.  As  a draftsman  he  was  exceedingly  elegant  and  facile, 
and  his  dexterity  and  swiftness  of  execution  with  the  brush  were  remarkable, 
especially  in  rendering  the  skins  and  furs  of  animals;  a few  touches  or  twirls, 
especially  in  his  later  work,  sufficed  to  produce  effects  which  seem  due  to  the 
most  intricate  manipulation. 


ANONYMOUS  ‘LONDON  QUARTERLY  REVIEW’  1874 

THE  line  that  divides  Landseer’s  art  from  that  of  other  animal-painters 
also  separates  his  own  pictures  into  two  distinct  classes.  On  one  side 
of  that  line  are  his  portraits  of  individual  beasts,  compositions  in  which  one 
or  more  of  them  are  appropriately  set,  sometimes  telling  the  story  of  their 
juxtaposition,  sometimes  merely  setting  forth  a claim  to  existence  as  repre- 
sentations of  things  in  themselves  beautifully  or  gracefully  arranged,  or  as 
pieces  of  fine  workmanship.  On  the  other  side  of  the  line  are  the  pictures 
into  which  the  artist  has  thrown  a peculiar  and  subtle  charm,  educing  from 
his  materials  not  a direct  moral  lesson  as  Hogarth  would  have  done,  but  a 
power  of  awakening  thought  and  feeling  in  others  — pictures  now  idyllic  with 
all  the  simple  happiness  in  mere  living  of  the  brute  inhabitants  of  the  field; 
now  epic  with  their  strifes  and  struggles;  now  dramatic  with  the  play  of  their 
strange  minds,  so  mysteriously  like  and  unlike  our  own;  now  lyric  with  their 
joys  and  griefs — pictures,  in  short,  which,  as  Ruskin  has  said,  are  poems.  It 
is  in  these  works  in  which  the  poetry  of  animal  life  is  strikingly  embodied  that 
Landseer’s  originality  is  shown. 

The  older  masters  seldom  introduced  animals  as  a principal  element  in  their 
pictures.  When  Veronese,  Velasquez,  or  Van  Dyck  gives  us  a dog  or  a 
horse  it  is  rather  as  an  adjunct  in  a sumptuous  scene,  or  as  a characteristic 
possession  of  the  person  whose  portrait  he  is  executing,  than  as  a thing  par- 
ticularly interesting  in  itself.  Rubens,  it  is  true,  gives  a more  prominent  place 
to  beasts,  and,  attracted  apparently  by  the  savage  energy  of  the  subject,  revels 
in  an  occasional  lion  hunt.  Snyders,  his  friend  and  pupil,  dwells  habitually 
on  the  sterner  aspects  of  the  chase.  The  later  cattle  painters  — Cuyp,  who 
steeped  his  meadow  scenes  in  golden  sunlight,  and  the  sturdier  Paul  Potter — 
are  animal-painters  entirely  after  the  modern  kind.  We  can  trace  their  echoes 

[202] 


LANDSEER 


35 


in  contemporary  art,  but  even  in  them  there  is  no  sign  of  controlling  feel- 
ing or  sentiment.  Perhaps  of  all  the  ancients  Diirer  studied  the  subject  in  a 
spirit  most  akin  to  that  of  Landseer.  His  dogs  and  pigs  and  horses  have 
an  individual  life,  a distinct  character  of  their  own.  One  feels  that  to  him 
one  beast  was  not  as  another  beast — a patch  of  necessary  color,  a superior 
kind  of  stage  property — but  a creature  into  whose  mind  it  was  worth  while, 
if  possible,  to  enter. 

Among  modern  animal-painters,  too,  Landseer  holds  a distinct  place.  The 
agricultural  scenes  of  Troyon  and  Rosa  Bonheur  possess  extraordinary  vigor, 
and  their  cattle,  horses,  and  sheep  are  certainly  executed  with  more  rough 
power  and  less  civilized  refinement  than  Landseer  was  in  the  habit  of  show- 
ing; but  in  none  of  the  modern  animal-painters  is  there  Landseer’s  vein  of 
poetry;  not  one  has  seen  so  far  into  the  brute  nature,  and  passed  by  so  en- 
tire a transmigration  into  the  beast’s  soul,  into  its  limited  blind  feeling  and 
its  groping  rudimentary  reasonings.  . . . 

Nearly  allied  to  this  power  of  rendering  what  may  be  called  the  psychology 
of  beasthood  was  Landseer’s  singular  skill  in  the  drawing  of  animal  forms. 
He  caught  the  most  fleeting  and  most  characteristic  attitudes  of  his  models 
with  a kind  of  instinct.  Doubtless  this  power  had  been  greatly  increased  by 
years  of  toil,  but  though  he  strengthened  the  gift  that  was  in  him  by  assiduous 
study,  yet  the  gift  itself  was  something  peculiarly  his  own  — and  what  a won- 
derful gift  it  was!  How  admirably  his  brush  seems  to  give  life  to  these  count- 
less creatures — how  various  they  are,  and  each  how  full  of  character!  . . . 

Landseer’s  shortcomings  are  not  far  to  seek.  His  color,  except  when  work- 
ing at  his  best,  is  poor,  his  composition  not  excellent;  but  his  humor  and 
pathos  are  admirable,  his  technical  painting  of  certain  substances  not  less  so, 
and  in  power  of  drawing  and  painting  animal  life,  of  expressing  insight  into 
animal  character  and  sympathy  with  animal  feeling  and  in  the  divine  faculty 
of  casting  a halo  of  poetry  over  his  subject  — in  these  he  has  never  been  sur- 
passed. 


Cfjr  Storks  of  JUntisrcv 

DESCRIPTIONS  OF  THE  PLATES 

‘THE  OLD  SHEPHERD’S  CHIEF  MOURNER*  PLATE  I 

THIS  picture,  one  of  the  most  celebrated  of  Landseer’s  works,  and  by 
many  considered  his  masterpiece,  was  painted  in  1837,  when  the  artist 
was  thirty-five  years  old,  and  exhibited  that  same  year  at  the  Royal  Academy. 
It  is  now  in  the  South  Kensington  Museum,  London.  It  represents  the  inte- 
rior of  a Highland  cottage  of  which  the  only  living  inmate  is  the  faithful  dog 
watching  beside  the  coffin  in  which  his  master  lies.  The  shepherd’s  plaid 
partly  covers  the  coffin’s  lid,  upon  which  some  hand  has  placed  a sprig  of  rose- 
mary in  accordance  with  an  old  custom  still  held  sacred  in  the  lonely  hill- 

1203] 


36 


MASTERS  IN  ART 


country  of  Scotland.  The  Bible  and  spectacles  of  the  dead  shepherd  lie  on 
a stool  near  by;  his  stick  and  hat  are  on  the  floor;  and  beside  the  window, 
which  lets  in  a flood  of  light,  stands  the  worn  armchair  where  he  used  to  sit. 

Ruskin  called  this  painting  “one  of  the  most  perfect  poems  or  pictures 
which  modern  times  have  seen,”  and  in  his  poetic  but  not  very  accurate  de- 
scription of  the  work  says,  “The  exquisite  execution  of  the  glossy  and  crisp 
hair  of  the  dog,  the  bright  sharp  touching  of  the  green  bough  beside  it,  the 
clear  painting  of  the  wood  of  the  coffin  and  the  folds  of  the  blanket,  are  lan- 
guage— language  clear  and  expressive  in  the  highest  degree.  But  the  close 
pressure  of  the  dog’s  breast  against  the  wood,  the  convulsive  clinging  of  the 
paws,  which  has  dragged  the  blanket  off  the  trestle,  the  total  powerlessness 
of  the  head  laid,  close  and  motionless,  upon  its  folds,  the  fixed  and  tearful 
fall  of  the  eye  in  its  utter  hopelessness,  the  rigidity  of  repose  which  marks 
that  there  has  been  no  motion  nor  change  in  the  trance  of  agony  since  the 
last  blow  was  struck  on  the  coffin-lid,  the  quietness  and  gloom  of  the  cham- 
ber, the  spectacles  marking  the  place  where  the  Bible  was  last  closed,  indi- 
cating how  lonely  has  been  the  life,  how  un  watched  the  departure  of  him  who 
is  now  laid  solitary  in  his  sleep — these  are  all  thoughts — thoughts  by  which 
the  picture  is  separated  at  once  from  hundreds  of  equal  merit,  as  far  as  mere 
painting  goes,  by  which  it  ranks  as  a work  of  high  art,  and  stamps  its  author, 
not  as  the  neat  imitator  of  the  texture  of  a skin  or  the  fold  of  a drapery,  but 
as  a man  of  mind.” 

The  picture  is  on  panel  and  measures  one  foot  six  inches  high  by  two  feet 
wide. 

‘SPANIELS  OF  KING  CHARLES’  BREED’  PLATE  II 

THIS  picture,  sometimes  called  ‘The  Cavalier’s  Pets,’  was  first  exhibited 
at  the  British  Institution  in  1845.  It  is  a remarkable  example  of  Land- 
seer’s rapidity  of  workmanship,  having  been  painted  in  two  days  — a fact  that 
is  the  more  to  be  wondered  at  when  it  is  observed  how  exquisitely  the  ostrich 
feather  in  the  cavalier’s  gray  felt  hat  lying  on  the  table  is  rendered,  and  with 
what  a delicate  touch  the  silky  coats  of  the  spaniels — the  King  Charles, 
black  and  tan  with  spots  of  white,  and  the  Blenheim,  white  with  reddish  brown 
ears — are  portrayed.  Mr.  Cosmo  Monkhouse,  indeed,  considers  that  as  a 
piece  of  painting  Landseer  never  excelled  this  work. 

The  picture  is  on  canvas  and  measures  about  two  feet  high  by  three  feet 
wide.  It  hangs  in  the  National  Gallery,  London. 

‘THE  TWA  DOGS’  PLATE  III 

</  | VHE  Twa  Dogs,’  painted  in  1822,  when  Landseer  was  twenty  years 
A old,  illustrates  Robert  Burns’  poem  of  that  name  which  relates  how 

“Upon  a bonnie  day  in  June, 

When  wearing  thro’  the  afternoon, 

Twa  dogs,  that  were  na  thrang  at  hame, 

Forgather’d  ance  upon  a time.” 

[2041 


LANDSEER 


37 


One  of  these  dogs,  Caesar  by  name,  the  well-cared-for  favorite  of  a wealthy 
and  high-born  master,  was  a Newfoundland,  whose 

. . . “locked,  letter’d,  braw  brass  collar 
Show’d  him  the  gentleman  and  scholar.” 

The  other,  Luath,  was  a ploughman’s  collie,  whose 

. . . “honest,  sonsie,  baws’nt  face 
Aye  gat  him  friends  in  ilka  place.” 

In  spite  of  the  difference  in  their  social  positions  and  worldly  circumstances, 
the  two  were  fast  friends,  and  on  the  occasion  in  question,  having  sought  a 
secluded  spot,  they  seated  themselves  upon  a knoll, 

“An’  there  began  a lang  digression 
About  the  lords  o’  the  creation.” 

Their  conversation,  in  which  they  compared  their  lots  and  discussed  the 
hardships  of  poverty  versus  the  emptiness  and  folly  of  a fashionable  life,  lasted 
until  the  sun  had  set  and  night  was  upon  them, 

“ When  up  they  gat,  and  shook  their  lugs, 

Rejoic’d  they  were  na  men,  but  dogs; 

An’  each  took  atf  his  several  way. 

Resolv’d  to  meet  some  ither  day.” 

Landseer  has  caught  the  spirit  of  the  poem,  and  while  admirably  interpre- 
ting the  character  of  the  two  dogs,  has  by  no  means  divested  them  of  their 
canine  natures. 

The  picture  is  on  canvas  and  measures  about  one  foot  four  inches  high 
by  nearly  two  feet  wide.  It  is  in  the  South  Kensington  Museum,  London. 

‘THE  SICK  MONKEY’  PLATE  IV 

AMONG  Landseer’s  last  works  ‘The  Sick  Monkey,’  or,  as  it  was  origin- 
. ally  called,  ‘Doctor’s  Visit  to  Poor  Relations  at  the  Zoological  Gar- 
dens,’ occupies  a prominent  place,  and  offers  an  admirable  example  of  the 
kind  of  subject  of  which  Landseer  was  the  originator  and  in  the  portrayal  of 
which  he  was  preeminent. 

In  a cage  at  the  London  Zoological  Gardens  a young  monkey,  sick  and 
suffering,  is  tenderly  cared  for  by  its  mother,  to  whom  it  clings  with  all  the 
dependence  of  an  ailing  child.  On  a rail  behind  sits  the  “doctor,”  quietly 
devouring  an  orange,  while  he  holds  another  in  his  hind  paws.  The  soft  gray 
fur  of  the  mother  and  child  and  the  coat  of  the  doctor,  its  black  offset  by  the 
two  bright  spots  of  color  supplied  by  the  oranges,  are  excellently  painted, 
as  are  also  the  forms  and  attitudes  of  the  animals,  and  their  almost  human 
expressions  indicative  of  suffering  in  the  baby-monkey’s  face,  anxious  solici- 
tude in  the  mother’s,  and  calm  indifference  on  the  part  of  the  “doctor.” 
The  picture  is  on  canvas  and  measures  three  feet  high  by  two  feet  three 
inches  wide.  It  was  painted  in  187  0 and  was  exhibited  in  that  year  at  the 

[205] 


38 


MASTERS  IN  ART 


Royal  Academy,  London.  In  1876  it  was  sent  to  the  United  States,  where 
it  was  seen  at  the  Centennial  Exhibition  held  in  Philadelphia.  It  is  now  the 
property  of  Lord  Northbrook. 

‘THE  MONARCH  OF  THE  GLEN’  PLATE  V 

THIS  picture,  exhibited  at  the  Royal  Academy  in  1851,  was  painted  in 
accordance  with  an  order  received  by  Landseer  from  the  Commission- 
ers on  the  Fine  Arts  to  paint  three  subjects  connected  with  the  chase,  for  the 
peers’  refreshment  room  in  the  English  Houses  of  Parliament.  The  matter, 
however,  came  to  nothing,  for  the  House  of  Commons  took  offense  at  not 
having  been  consulted  in  the  transaction,  and  the  appropriation  bill  failed  to 
carry.  ‘The  Monarch  of  the  Glen,’  one  of  Landseer’s  finest  and  most  pop- 
ular works,  then  passed  into  private  possession.  Since  that  time  it  has  more 
than  once  changed  owners,  and  is  now  the  property  of  T.  J.  Barratt,  Esq., 
London. 

“The  picture,”  writes  Mr.  McDougall  Scott,  “is  eminently  simple  and 
majestic  in  its  composition.  A noble  animal  is  represented  before  the  merest 
suggestion  of  mountain  scenery,  which,  despite  its  small  relation  to  the  pro- 
portion of  the  stag,  is  full  of  space  and  distance.  The  set  of  the  head  and 
neck  of  the  ‘Monarch’  as  he  stands  in  tense  expectancy  is  the  essence  of 
proud  power  and  freedom.” 

T he  name  by  which  the  picture  is  known  was  not  conferred  upon  it  by 
Landseer,  who  gave  it  no  title  beyond  what  might  be  deduced  from  the  fol- 
lowing lines  from  the  ‘Legends  of  Glenorchay’  which  he  appended  to  the 
painting : 

“When  first  the  day  star’s  clear,  cool  light, 

Chasing  night’s  shadows  gray, 

With  silver  touch’d  each  rocky  height 
That  girdled  wild  Glen-Strae, 

Uprose  the  Monarch  of  the  Glen, 

Majestic  from  his  lair; 

Survey’d  the  scene  with  piercing  ken, 

And  snuff’d  the  fragrant  air.” 

‘A  HIGHLAND  BREAKFAST’  PLATE  VI 

A LTHOLTGH  Landseer  was  never  so  successful  in  compositions  into 
i \ which  many  figures  were  introduced  as  he  was  in  his  portrayals  of  single 
animals,  the  ‘Highland  Breakfast’  is  a fine  and  characteristic  example  of  his 
story-telling  pictures  which  met  with  popular  favor  and  added  greatly  to  his 
reputation. 

T he  scene  of  this  painting  is  a Highland  shepherd’s  hut,  where  a number 
of  dogs  — staghound,  collie,  and  terriers  — are  gathered  around  a tub  of  hot 
milk  assigned  them  for  their  morning  meal.  Some  of  them  hang  back,  for 
the  breakfast  is  yet  too  hot;  others,  unable  to  restrain  their  impatience,  eagerly 

[206] 


LANDSEER 


39 


dip  their  noses  into  the  tempting  milk.  Seated  near  by  is  the  shepherd’s  wife, 
heedful  only  of  the  baby  in  her  arms.  A cradle,  a chair,  and  some  cooking 
utensils  lying  about  complete  this  picture  of  lowly  life. 

The  painting  is  on  wood  and  measures  one  foot  eight  inches  high  by  two 
feet  two  inches  wide.  It  was  exhibited  at  the  Royal  Academy  in  1834, 
and  is  now  in  the  South  Kensington  Museum,  London. 


‘LOW  LIFE HIGH  LIFE’  PLATEVII 

THESE  companion  pictures,  now  in  the  National  Gallery  of  British  Art 
(Tate  Gallery),  London,  were  painted  in  1829  and  exhibited  two  years 
later  at  the  British  Institution.  One  of  them  represents  a butcher’s  bulldog, 
“big  of  jowl  and  broad  of  paw,”  lazily  blinking  in  the  warm  sunshine,  as 
he  sits  beside  his  master’s  block,  guarding  the  hat,  boots,  and  cans  that  have 
been  left  in  his  care.  “Was  ever  anything  more  real — was  ever  anything  more 
expressive?”  asks  a writer  in  the ‘Morning  Chronicle.’  “This  dog  is  the 
very  essence  of  greasy  vulgarity  and  yet  he  is  a dog,  every  inch  and  every 
hair  of  him.  His  eyes,  half  shut  and  winking,  are  ‘low’ — his  tongue,  lazily 
curling  out  of  his  greasy  chops,  is  ‘low’ — his  clumsy  knotted  legs  are  ‘low’ 
— his  ungainly  inturned  toes  are  ‘low,’  and  beside  him  stands  a pair  of  boots, 
stubborn,  squat,  coarse  boots,  irredeemably  and  hopelessly  ‘low.’  The  whole 
picture,  in  fact,  dog  and  accessories,  presents  the  most  perfect  idea  of  low 
comfort  and  ungainly  free-and-easyism  that  ever  was  put  on  canvas.” 

The  other  picture,  ‘High  Life,’  offers  a striking  contrast  in  the  condition 
of  the  dog  which  gives  the  title  to  the  scene.  Gentle  and  “gentlemanly”  is 
the  staghound  seated  before  the  fire  in  the  comfortable  study  of  the  master 
whose  books,  gloves,  and  other  belongings  bespeak  his  rank  in  life.  It  has 
been  said  that  this  dog  was  Sir  Walter  Scott’s  famous  “Maida,”  but  there  is 
insufficient  ground  for  this  belief. 

Both  ‘Low  Life’  and  ‘High  Life’  are  fine  examples  of  Landseer’s  art. 
They  are  painted  on  wood,  and  each  one  measures  only  eighteen  inches  high 
by  about  thirteen  inches  wide. 


‘SUSPENSE’  PLATE  VIII 

THE  year  1834  was  productive  of  several  of  Landseer’s  masterpieces,  of 
which  his  biographer,  Mr.  F.  G.  Stephens,  considers  ‘Suspense  ’ “by  far 
the  best  picture,  the  aptest  illustration  of  his  genius,  the  one  on  which  his 
honor  should  rest.” 

The  picture  is  an  example  of  that  class  of  Landseer’s  works  in  which  “the 
invention  of  the  artist  is  exerted  rather  to  exercise  and  call  forth  the  imag- 
ination of  the  spectator  than  to  display  his  own.”  It  represents  a huge  blood- 
hound intently  watching  at  a closed  door,  shut  out,  we  are  led  to  suppose, 
from  his  master,  who  has  been  borne  wounded  into  the  room  beyond.  In  the 
original  painting  drops  of  blood  may  be  seen  upon  the  floor,  telling  the  story 

[207] 


40 


MASTERS  IN  ART 


of  desperate  strife,  to  which  the  blood-stained  eagle  plume  also  bears  witness. 
The  steel  gauntlets  on  the  table,  reflecting  the  light  in  their  polished  sur- 
faces, add  an  effective  touch  to  the  picture. 

‘Suspense’  is  now  in  the  South  Kensington  Museum, London.  It  is  painted 
on  wood  and  measures  about  two  feet  three  inches  high  by  three  feet  wide. 

‘A  JACK  IN  OFFICE’  PLATE  IX 

* \ JACK  in  Office’  is  one  of  Landseer’s  best  known  works,  and  the  first  of 
.xV  those  “canine  burlesques  of  human  life”  that  won  for  him  an  almost 
unparalleled  popularity.  This  picture  gives  evidence  of  both  the  humor  and 
the  pathos  of  the  painter.  An  itinerant  dealer  in  dog’s  meat — a familiar  fig- 
ure in  London  fifty  years  ago — has  left  his  wheelbarrow  in  a side  street  un- 
der the  guardianship  of  a fat  mongrel  cur,  who,  mounted  on  the  top  of  his 
charge,  does  not  deign  in  all  the  arrogance  of  his  position  of  authority  to  so 
much  as  glance  at  the  poor  miserable  dogs  who,  attracted  by  the  smell  of  the 
food,  have  ventured  to  approach.  A lean  and  hungry  hound  gazes  longingly 
on  the  savory  contents  of  the  butcher’s  basket  placed  near  the  barrel ; a puppy 
in  front,  having  devoured  some  scraps  of  meat  that  were  cast  aside,  still  gnaws 
the  skewer  and  makes  bold  to  ask  for  more ; in  the  background  other  wretched 
creatures  timidly  draw  near,  none  daring,  however,  to  touch  the  meat  that 
“Jack”  so  superciliously  guards. 

The  picture  was  exhibited  at  the  Royal  Academy  in  1833.  It  is  on  wood 
and  measures  about  one  foot  and  a half  high  by  a trifle  over  two  feet  wide.  It 
is  now  in  the  South  Kensington  Museum,  London. 

‘THE  HUNTED  STAG’  PLATE  X 

AFTER  Landseer’s  visit  to  Scotland  in  1824  the  deer  became  almost  as 
_ frequent  a subject  for  his  brush  as  the  dog.  “The  deer,”  writes  Mr. 
Cosmo  Monkhouse,  “was  the  only  animal  of  which  he  may  be  said  to  have 
made  a special  study  in  its  wild  state,  and  whose  natural  life  he  watched 
with  never  wearying  care  and  pleasure.  The  beauty  of  its  form,  the  nobil- 
ity and  grace  of  its  bearing,  the  cleverness  of  its  instincts,  and  its  courage 
in  extremity,  together  with  the  sublimity  of  its  home,  gave  it  a fascination 
from  which  Landseer  never  escaped.  . . . He  may  be  said  to  have  mastered 
other  animals,  but  the  deer  mastered  him.” 

Moreover,  the  wild  scenery  of  the  Scottish  Highlands  made  a strong  ap- 
peal to  Landseer’s  imagination,  and  many  were  the  studies  that  he  made  of 
mountain,  lake,  and  rushing  torrent,  and  the  ever  changing  effects  of  cloud 
and  mist.  Scenery  such  as  this  he  painted  as  fit  settings  for  his  numerous 
pictures  of  the  stag  and  deer,  many  of  them  tragic  in  their  portrayals  of  the 
death  of  these  creatures,  and  none  more  touching  and  at  the  same  time  more 
stirring  than  the  one  reproduced  in  plate  X,  in  which  a hunted  stag,  hotly 
pursued  by  the  hounds,  has  plunged  into  a mountain  stream  to  escape  its 
bloodthirsty  foes,  and  is  borne  down  the  rocky  torrent,  even  there  closely 
followed  by  its  tormentors. 


[ 208] 


LANDSEER 


41 


The  picture,  which  was  exhibited  at  the  Royal  Academy  in  1833,  is  now 
in  the  National  Gallery  of  British  Art  (Tate  Gallery),  London.  It  is  on  wood 
and  measures  about  two  feet  three  inches  high  by  three  feet  wide. 


A LIST  OF  SOME  OF  THE  MORE  NOTABLE  PAINTINGS  BY  LANDSEER 
WITH  THEIR  PRESENT  LOCATIONS 

PUBLIC  COLLECTIONS 

ENGLAND.  Egham,  Holloway  College:  Man  Proposes,  God  Disposes  — Lon- 
don, Burlington  House,  Diploma  Gallery:  The  Faithful  Hound — London, 
National  Gallery:  Sleeping  Bloodhound;  Spaniels  of  King  Charles’  Breed  (Plate  n); 
Dignity  and  Impudence;  Shoeing;  Two  Studies  of  a Lion;  Defeat  of  Comus  (loaned)  — 
London,  National  Gallery  of  British  Art:  Low  Life — High  Life  (Plate  vii); 
Highland  Music;  The  Hunted  Stag  (Plate  x);  Peace;  War;  Highland  Dogs;  Alexander 
and  Diogenes;  The  Maid  and  the  Magpie;  A Distinguished  Member  of  the  Humane  So- 
ciety; Scene  at  Abbotsford;  Uncle  Tom  and  his  Wife  for  Sale;  Donkey  and  Foal;  Por- 
trait of  John  Landseer;  Equestrian  Portrait  (finished  by  Millais) — London,  National 
Portrait  Gallery:  Portrait  of  Sir  Walter  Scott;  Portrait  of  Dr.  John  Allen  — London, 
South  Kensington  Museum:  Highland  Breakfast  (Plate  vi);  Drover’s  Departure;  Dog 
and  Shadow;  The  Twa  Dogs  (Plate  ill);  Fireside  Party;  The  Old  Shepherd’s  Chief 
Mourner  (Plate  i);  A Jack  in  Office  (Plate  ix);  Tethered  Rams;  Sancho  Panza  and 
Dapple;  The  Angler’s  Guard;  A Naughty  Child;  Suspense  (Plate  vm);  Comical  Dogs; 
Young  Roebuck  and  Rough  Hounds;  Eagle’s  Nest;  There’s  no  Place  Like  Home;  Lion; 
The  Stonebreaker  and  his  Daughter;  Lady  Blessington’s  Dog;  Sketch  in  the  Highlands  — 
London,  Wallace  Collection:  Highland  Scene;  Arab  Tent;  Looking  for  Crumbs  that 
Fall  from  the  Rich  Man’s  Table  — IRELAND.  Dublin,  National  Gallery  of  Ire- 
land: Dialogue  at  Waterloo;  Portrait  Group  (unfinished)  — SCOTLAND.  Edinburgh, 
National  Gallery  of  Scotland:  Rent  Day  in  the  Wilderness. 

private  collections 

ENGLAND.  Owned  by  the  King  of  England:  The  Connoisseurs  (Page  190);  The 
Sanctuary;  Van  Amburgh  and  his  Animals;  Marmosets;  Portrait  of  Queen  Victoria; 
Queen  Victoria  and  Prince  Albert;  Queen  Victoria  in  Fancy  Dress;  Queen  Victoria  in  the 
Highlands;  Queen  Victoria  Sketching;  Queen  Victoria  at  Osborne  House;  Windsor  Castle; 
The  Princess  Royal;  Princess  Victoria  of  Saxe  Coburg;  Princess  Alice  when  a Baby; 
Princess  Alice  with  Eos;  Dash;  Pen,  Brush,  and  Chisel;  Dash,  Hector,  Nero,  and  Lorie; 
Islay,  Macaw,  and  Love-birds;  Lorie;  Lion-dog  from  Malta;  Islay  Begging;  Cairnach; 
Eos;  A Drive  of  Deer;  The  Free  Kirk;  Dackel;  Hunter  and  Bloodhound;  Highland  Las- 
sie Crossing  the  Stream;  The  Mountain  Top;  Dandie  Dinmont  and  the  Hedgehog;  Dear 
Old  Boz;  Indian  Tent,  Mare,  and  Foal;  Defeat  of  Comus  (fresco);  The  Font  — Owned  by 
Lord  Ashburton:  Portrait  of  Lord  Ashburton  — Owned  by  T.  J.  Barratt,  Esq:  The 
Monarch  of  the  Glen  (Plate  v) — Owned  by  the  Duke  of  Bedford:  Chevy  Chase  — 
Owned  by  Earl  Brownlow:  Midsummer  Night’s  Dream  — Owned  by  Lord  Cheyles- 
MORE:  The  Auld  Wife;  Flood  in  the  Highlands;  Equestrian  Portrait  of  Queen  Victoria  — 
Owned  by  the  Duke  of  Devonshire:  Bolton  Abbey  in  the  Olden  Time;  Laying  Down 
the  Law;  The  Chieftain’s  Friends  — Owned  by  the  Earl  of  Essex:  The  Cat's-paw  — 
Owned  by  Lord  Hardinge:  Night;  Morning;  Deer  at  Bay  — Owned  by  John  Naylor, 
Esq:  There’s  Life  in  the  Old  Dog  Yet;  Harvest  in  the  Highlands;  Dead  Game — Owned 
by  the  Marquis  of  Northampton:  Swannery  Invaded  by  Eagles- — Owned  by  Lord 
Northbrook:  The  Sick  Monkey  (Plate  iv);  The  Traveled  Monkey  — Owned  by  the 
Duke  of  Northumberland:  Deerstalker's  Return  — Owned  by  the  Duke  of  Suth- 
erland: The  Sutherland  Children  — Owned  by  the  Duke  of  Wellington:  Highland 
Whiskey  Still;  Van  Amburgh  and  his  Animals. 

[200] 


42 


MASTERS  IN  ART 


Hantiseer  JSthUograpjip 

A LIST  OF  THE  PRINCIPAL  BOOKS  AND  MAGAZINE  ARTICLES 
DEALING  WITH  LANDSEER 

THE  most  important  biography  of  Landseer  yet  published  is  F.  G.  Stephens’  ‘ Memoirs 
of  Sir  Edwin  Landseer’  (London,  1874,  and  reissued  in  1880  in^a  revised  and  more 
compact  form  in  the  ‘Illustrated  Biographies  of  the  Great  Artists’  series).  James  A. 
Manson’s  ‘ Sir  Edwin  Landseer’  (London,  1 902)  is  anecdotal  rather  than  critical.  Cosmo 
Monkhouse’s  article  on  Landseer  in  the  ‘ Dictionary  of  National  Biography’  is  interesting, 
and  Algernon  Graves’  ‘Catalogue  of  the  Works  of  Sir  Edwin  Landseer’  (London,  1875), 
although  now  somewhat  out  of  date,  contains  valuable  information. 

DAFFORNE,  J.  Pictures  by  Sir  E.  Landseer.  London  [1874]  — Frith,  W.  P. 

My  Autobiography  and  Reminiscences.  London,  1S87  — Gilbey,  Sir  W.  Animal 
Painters  of  England.  London,  1900  — Graves,  A.  Catalogue  of  the  Works  of  Landseer. 
London  [1875]  — Hurll,  E.  M.  Landseer.  Boston,  1901 — Leslie,  C.  R.  Autobio- 
graphical Recollections.  Edited  by  Tom  Taylor.  London,  i860  — Manson,  J.  A.  Sir 
Edwin  Landseer,  R.  A.  London,  1902  — Monkhouse,  W.  C.  Pictures  by  Sir  Edwin 
Landseer.  London  [1S77]  — Monkhouse,  W.  C.  The  Studies  of  Sir  Edwin  Landseer. 
London  [18 — ] — Monkhouse,  W.  C.  Landseer  (in  Dictionary  of  National  Biography). 
London,  1892 — Muther,  R.  History  of  Modern  Painting.  London,  1896  — Muther, 
R.  Geschichte  der  englischen  Malerei.  Berlin,  1903 — Redgrave,  R.  and  S.  A Cen- 
tury of  Painters  of  the  English  School.  London,  1890  — Ruskin,  J.  Modern  Painters. 
London,  1846-60  — Scott,  McD.  Sir  Edwin  Landseer.  London,  1903 — Stephens, 
F.  G.  Memoirs  of  Sir  Edwin  Landseer.  London,  1874  — Stephens,  F.  G.  Sir  Edwin 
Landseer.  London, 1880  — -Sweetser,  M.  F.  Landseer.  Boston, 1879  — Tirebuck,W. 
Great  Minds  in  Art.  London,  1888  — Van  Dyke,  J.  C.  Old  English  Masters.  New 
York,  1902. 

MAGAZINE  ARTICLES 

ART  JOURNAL,  1875-77:  J.  D.;  Studies  and  Sketches  by  Landseer.  1879:  W.  C. 
Monkhouse;  Hogarth  and  Landseer — Athenaeum,  1873:  Sir  Edwin  Landseer  — 
British  Quarterly  Review,  1874:  Edwin  Landseer  — Cornhill  Magazine,  1874: 
A.  I.  Thackeray;  Sir  Edwin  Landseer  — Daily  Nlws  (London),  Oct.  3,  1873:  Sir 
Edwin  Landseer.  Oct.  1 1,  1 873  : Obituary  — Every  Saturday,  1873:  Sir  Edwin  Land- 
seer— -Gentleman’s  Magazine,  1874:  J.  Callingham;  Sir  Edwin  Landseer- — -Leisure 
Hour,  1874:  Landseer’s  Spot  of  Red  — Littell’s  Living  Age,  1 852  : Sir  Edwin  Land- 
seer’s Dogs — London  Quarterly  Review,  1874:  Landseer — Munsey’s  Magazine, 
1894:  J.  G.  Waring;  Landseer  and  his  Animals  — Portfolio,  1871:  F.  G.  Stephens; 
English  Artists  of  the  Present  Day.  1885:  F.  G.  Stephens;  Landseer  the  Dog-painter 
— The  Times  (London),  Oct.  2,  1873:  Obituary.  Oct.  13,  1873:  The  Funeral  of  Sir 
Edwin  Landseer. 


[210] 


M ASTE  RS  IN  ART 


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The  WALTER  M.  LOWNEY  COMPANY,  Boston,  Mass. 


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MASTERS  IN  ART 


AMERICAN 
COUNTRY  HOUSES 


“Ragdale,”  Lake  Forest,  Illinois. 

HOWARD  SHAW,  ARCHITECT,  CHICAGO 

IN  a large  special  number  of  The  Architectural  Review  this 
subject  is  treated  more  fully  and  satisfactorily  than  in  any  pub- 
lication thus  far  issued.  It  presents  the  representative  country  house 
work  of  about  fifty  of  the  best  American  architects  and  has  been 
prepared  chiefly  with  the  view  of  meeting  the  demand  from  people 
who  intend  building  for  some  book  giving  good  ideas  for  the  plan- 
ning, design,  and  interior  furnishing  of  artistic  country  homes. 

If  ) ou  are  interested  let  us  send 
you  complete  information  about  it. 

BATES  & GUILD  COMPANY 

PUBLISHERS 

42  CHAUNCY  STREET,  BOSTON,  MASS. 


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MASTERS  IN  ART 


ANY  ONE 

INTERESTED 
IN  ART 

or  Artistic  Shading,  may  do  well  to  write 
for  circulars  for  the  latest  and  the  best. 

Address  AIR  BRUSH  MFG.  CO. 
No.  42  Nassau  St.,  Rockford,  111.,  U.S.A. 


fork  <f>cfjool  of  &rt 

(chase  school) 


INSTRUCTORS 

William  M.  Chase  Robert  Henri 

Susan  F.  Bissell  F.  Luis  Mora 

Clifford  Carlton  Kenneth  Hayes  Miller 

Douglas  John  Connah  Elisa  A.  Sargent 

Howard  Chandler  Christy  Theodora  W.  Thayer 
Drawing,  Painting,  Composition,  Illustration,  Decorative 
and  Applied  Art.  Special  Classes  for  Advanced  Work  in  Por- 
traiture, Miniature,  Illustration,  and  in  Normal  Art  Work. 

No  requirements  for  admission  to  any  of  the  classes.  Refer- 
ences required  of  all  students. 


For  further  particulars  in  reference  to  the  School, apply  to 
DOUGLAS.JOHN  CONNAH,  Director, 

57  West  57th  Street,  New  York 


AIR  BRUSH 


for 

ART  WORK. 


SMITH  & PORTER  PRESS 

BOOKPLATES 


BOSTON 


EUROPE  AS  A LABORATORY 

7TO  some,  Europe  is  a gay  casino;  to  others,  a circus  of  one  fast- 
moving  ring.  University  Travel  considers  it  a Laboratory  for 
studying  the  development  of  art  and  general  culture.  Every  detail 
is  adapted  to  making  the  study  profitable  and  enjoyable.  Slow 
itineraries,  inspiring  specialists  as  leaders.  Parties  limited  to 
twenty  members,  etc.  Write  for  Prospectus  giving  general  plans 
and  fifty-six  itineraries. 

BUREAU  OF  UNIVERSITY  TRAVEL 

201  Clarendon  Street,  Boston 


SCHOOL- 

OF-THE 

MUSEUM-  OF 

• FINE -ARTS 

BOSTON,  MASS. 

INSTRUCTORS 

SCHOLARSHIPS 

E.  C.  TARBELL  ) „ . , 

F.  W.  BENSON  J Drawing  and 

PHILIP  HALE  ) Palnung' 

Paige  Foreign  Scholarship 
for  Men  and  Women. 

Helen  Hamblen  Scholarship. 

B.  L.  PRATT  Modeling 

E.  W.  EMERSON  Anatomy 

A.  K.  CROSS  Perspective 

Ten  Free  Scholarships. 
Prizes  in  money  awarded  in 
each  department. 

Twenty-ninth  Year 

DEPT.  OF  DESIGN 

C.  HOWARD  WALKER 

For  circulars  and  terms  address 

DIRECTOR 

the  manager 

Miss  EMILY  DANFORTH  NORCROSS 

art  acaDcntT  of  Ctnctnnatt 

SUMMER  TERM  “ - ~ 1904 

June  15  to  August  24 

Drawing  and  Painting  from  Life.  Compo- 
sition, Anatomy,  Modeling,  China  Painting, 
Design.  Located  in  Eden  Park  overlooking 
the  city,  with  opportunity  for  outdoor  work. 
The  Art  Museum  and  its  Library  are  open  free. 

J.  H.  GEST,  Director,  Cincinnati 

Fall  Term  opens  September  26 


DeSIGHCD 

I TO  ORDER.  FOR. 

'-book  Love-Rs, 
-'AT  low  prices 

Coats  ofIVrms 

6 M BLAZON 6 D IN 

CORRECT  5TVLe 

Addresses  and  Resolutions  en- 
grossed and  illuminated  for  Club 
and  Society  Committees. 

Ames  <51  Rollinson 
203  Broadway,  New  York 

Send  2c.  stamp  for  illustrated 
catalogue. 


(CJjassc  Class  in  SEnglauTr 

FOR  THE  SUMMER  OF  1904 


Instructor,  WM.  M.  CHASE 

Opportunity  will  be  given  to  work  from  ( / ) Landscape 
and  Model  Out-of-Doors  and  (.?)  The  Masterpieces 
in  the  National  Gallery,  London. 

Prizes  and  Scholarship.  Membership  Limited.  Ex- 
penses moderate.  For  full  information  apply  A T ONCE  to 

C.  P.  TOWNSLEY,  Jr.,  Manager 
469  Mt.  Hope  Place  NEW  YORK  CITY 


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M ASTE  RS  IN  ART 


€f)f 

tCratoeler’s 
art  Clul) 

A PRACTICAL  and 
successful  method 
for  the  Study  of  Art  at  your  home,  or  in 
clubs,  devised  and  arranged  by  Mrs.  Adeliza 
Brainerd  Chaffee,  after  years  of  experience 
in  Lecturing,  Study,  and  Foreign  Travel. 

SoptCfl! 

Full  details  upon  application 


CR  are  and  Beautiful  Platinums  and  Carbons. 

CR  eproductions  from  famous  Masterpieces 
and  Original  Views  in  Venice,  Rome,  and 
Florence  in  Water-color. 

«The  Raphel  Prints  in  Platinums,  five  sizes, 
3,000  subjects,  new  and  beautiful.  Order  by 
mail. 


Stuirto 

1 Hancock  St.,  Worcester,  Mass. 


COLORGRAPHS 

UR  new  pictures,  the  “ Colorgraphs,” 
are,  as  the  title  suggests,  reproduc- 
tions in  color.  The  subjects  have 
been  carefully  selected  from  the  most 
famous  works  of  both  ancient  and  modern  mas- 
ters. The  “ Colorgraphs”  will  at  once  be  rec- 
ognized as  gems  of  art,  for  their  faithfulness  to 
the  originals  in  the  depth  and  beauty  of  coloring 
brings  them  close  to  the  possible  limits  of  repro- 
ductive art. 

COMMENDATIONS 

The  best  carbon  print  fails  to  give  an  echo  of  the  rich  har- 
monies of  color  which  are  the  chief  glory  of  the  masterpieces 
of  pictorial  art ; but  in  presenting  to  the  world  your  new  series 
of  pictures,  41  The  Colorgraphs,”  you  have  rendered  a great 
service,  for  they  reproduce  the  originals  so  faithfully  both  in 
form  and  in  color  that  now,  for  the  first  time,  we  may  hope  by 
their  use  to  lead  our  children  to  know  something  of  the  splen- 
dor of  those  marvels  of  the  Renaissance. — HENRY  TURNER 
BAILEY,  Slate  Supervisor  of  Drawing  of  Massachusetts. 

I am  moved  by  the  novel  excellence  of  your 44  Colorgraphs  ” 
to  offer  you  my  sincere  personal  commendation.  With  a 
knowledge  of  what  has  hitherto  been  done  in  reproduction  of 
celebrated  pictures  by  colored  process,  I feel  that  this  is  a dis- 
tinct advance. — HARRISON  S.  MORRIS,  Pa.  Academy  of 
Fine  Arts . 

<LThe  “Colorgraphs*’  are  8 x 10  inches  in  size,  and 
each  is  enclosed  in  a neat  deckle-edged  portfolio. 

Price,  35  cents  each.  Send  for  circular  of  subjects. 


W.  A.  WILDE  COMPANY 

BOSTON  120  Boylston  Street 

WESTERN  BRANCH:  192  Michigan  Ave.,  Chicago 


The  GREAT  PICTURE  LIGHT 

FRINK’S  PORTABLE 

PICTURE  REFLECTORS 


For  electric  light,  meet  all  requirements 
for  lighting  pictures.  Every  owner  of 
fine  paintings  could  use  one  or  more  of 
these  portable  reflectors  to  advantage. 
The  fact  that  so  many  have  ordered 
these  outfits  for  their  friends  is  proof 
that  their  merits  are  appreciated. 
Height,  closed,  51  inches;  extended,  81 
inches.  The  light  from  the  reflector  can 
be  directed  at  any  picture  in  the  room 
and  at  any  angle. 


Frink'sPortablePictureReflector 
with  Telescope  Standard 

No.  7034,  brass,  polished  or  antique, 
with  plug  and  socket  for  electric 

lamp $27-5° 

No.  7035,  black  iron,  with  plug  and 
socket  for  electric  lamp  . . $16.50 

These  special  Reflectors  are  used  by 
all  the  picture-dealers  in  New  York,  and 
by  private  collectors  not  only  in  this 
country,  but  in  Paris,  London,  Berlin, 
and  other  cities.  When  ordering,  kindly 
mention  the  system  of  electricity  used. 
Satisfaction  guaranteed.  Parties  order- 
ing these  Reflectors  need  not  hesitate 
Nos.  7034,  7035  to  return  them  at  our  expense  if  not 
Pat.  Dec.  14,  ’97  found  satisfactory. 

I.  P.  FRINK,  55 1 Pearl  St.,  New  York  City 

GEO.  FRINK  SPENCER,  Manager 
Telephone,  860  Franklin 


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6 0 a ~ 31 


GETTY  CENTER  LIBRARY 

497  L36  \u> 

C.  1 

Sir  EtMn  Landseer 


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